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刘宇昆,把《三体》翻译到了世界舞台

  2012年秋,刘宇昆(Ken Liu)从名字显得平庸官僚的中国教育图书进出口有限公司到了一个有趣的工作邀请。该公司正在为一部迷幻的科幻小说《三体》寻找英语翻译。刘宇昆曾在美国当计算机程序员,改行为企业律师,后来又成了科幻小说作家,可以说是个合适的人选:他说一口流利的普通话,熟悉中国科幻小说的比喻和文化,他本人也是这个文学类型里一颗冉冉升起的新星。不过,当时刘宇昆只翻译过短篇作品,要准确把握这部长篇小说所有的复杂性似乎有些让人望而生畏。

  In the fall of 2012, Ken Liu was offered an interesting job at China education books import and export, a company with a seemingly bureaucratic name. The company is looking for an English translation for a psychedelic science fiction novel, the three-body problem. Ken liu, a computer programmer turned corporate lawyer turned science-fiction writer in the u.s., is a natural fit: fluent in mandarin, familiar with the metaphors and culture of Chinese science fiction, and a rising star in the genre. Still, Mr. Liu had translated only short stories at the time, and getting a handle on all the complexity of the novel seemed daunting.

  《三体》与刘宇昆曾经读过的所有作品都不一样。这部以北京、内蒙古和一个遥远行星为背景的深奥史诗,充满了有关量子理论、纳米技术、轨道力学和天体物理等令人兴奋的技术章节,交织着关于善恶本质的深刻道德问题,以及对人类在宇宙中位置的思考。

  The three-body problem is unlike anything Ken liu has ever read. Set in Beijing, Inner Mongolia and a distant planet, this esoteric epic is filled with exciting technical chapters on quantum theory, nanotechnology, orbital mechanics and astrophysics, interwoven with deep moral questions about the nature of good and evil, and reflections on humanity's place in the universe.

  但随着他开始翻译,刘宇昆遇到了一个看起来更根本的问题:小说的叙事结构不合理。故事在时间上来回跳跃,一会儿是今天的中国,即将到来的外星人入侵让科学家和政府官员人心惶惶;一会儿又是1967年的北京,文化大革命刚开始不久,一名天体物理学家无助地看着她的物理学教授父亲被毛泽东的红卫兵打成“反动学术权威”并杀害。这名天体物理学家对人类失去了信心,她用大功率无线电发射机向住在附近星系的外星人广播了一个大胆的信息,这个行为带来了可怕的后果。

  But as he began to translate, Ken liu ran into what appeared to be a more fundamental problem: the novel's narrative structure was unreasonable. The story jumps back and forth in time, to today's China, where an impending alien invasion has scientists and government officials on edge; Then it was 1967 in Beijing, early in the cultural revolution, and an astrophysicist watched helplessly as her physics professor father was branded a "reactionary academic authority" by MAO zedong's red guards and killed. Losing faith in humanity, the astrophysicist used a high-powered radio transmitter to broadcast a bold message to aliens living in nearby galaxies, an act that had dire consequences.

  刘宇昆研究这部小说混乱的时间轴,找到了他心目中故事的自然开端:文革期间政治暴力和压迫的场景,一个触发了接下来星际冲突的痛苦时刻。他建议把隐藏在故事中部的历史倒叙拉出来,变成小说的开头,这对译者来说是一个不寻常的侵扰举动。

  Exploring the novel's chaotic timeline, Ken liu finds what he sees as the natural beginning of the story: scenes of political violence and oppression during the cultural revolution, a painful moment that triggers the interplanetary conflict that follows. He suggests pulling out the historical flashbacks hidden in the middle of the story and turning them into the beginning of the novel, an unusual intrusion for the translator.

  当刘宇昆把这个彻底的改变建议给小说作者时,他做好了遭到拒绝的准备。这位作者刘慈欣是中国迅速发展的科幻小说圈子里一位冉冉升起的人物,他对刘宇昆的建议立即表示了同意。“我当初正是这么想的!”刘宇昆回想起刘慈欣这样说。

  When Ken liu suggested the radical change to the novelist, he was prepared for rejection. The author, liu cixin, a rising figure in China's burgeoning science fiction community, was quick to agree to Ken liu's suggestion. "That's what I thought!" Ken liu recalled liu cixin said.

  事实上,文化大革命曾把刘慈欣的家庭搞得四分五裂。虽然那场政治动乱开始时,他只有三岁,但他仍记得夜里听到的枪声,看见满卡车戴着红袖章的人在他居住的山西省城市里巡逻。当那里的形势变得极不稳定后,在煤矿工作的父母把他送到河南的亲戚家去住。毛泽东革命的残酷,也是刘慈欣想在《三体》中所讲述的故事的重要组成部分。但他的中国出版社担心,如果开头的场景政治色彩太浓,书可能永远无法得到政府审查部门的通过,所以这个场景被搬到了故事中部,为的是让它们不太惹人注意,刘慈欣说。

  In fact, the cultural revolution had torn his family apart. Though he was only three years old when the political unrest began, he remembers hearing gunshots at night and seeing trucks full of people wearing red armbands patrolling the city in Shanxi Province, where he lives. When the situation there became unstable, his parents, who worked in the coal mines, sent him to live with relatives in henan. The brutality of MAO's revolution was also an important part of the story liu cixin wanted to tell in the three-body problem. But his Chinese publishing house was concerned that if the opening scenes were too political, the book might never get through government censors, so the scenes were moved to the middle of the story to make them less noticeable, Mr. Liu said.

  《三体》的英文版于2014年出版后,被誉为推想小说的开创性作品。美国总统贝拉克·奥巴马(Barack Obama)赞扬它“极富想象力”。马克·扎克伯格(Mark Zuckerberg)向他在Facebook上的数千万关注者推荐了这本书;乔治·R·R·马丁(George R.R. Martin)在博客上写了有关文章。全世界的出版商都想得到翻译版权,这部小说最终以26种语言发行,包括土耳其语和爱沙尼亚语。它赢得了2015年度雨果奖,这是科幻作品领域最负盛名的荣誉之一,让刘慈欣成为首位获得雨果奖最佳长篇小说奖的亚洲作家。这也是长篇翻译小说首次获得该奖项。这部小说和它的两部续集在全球售出了近900万册。

  When the three-body problem was published in English in 2014, it was hailed as a groundbreaking work of speculative fiction. President Barack Obama praised it as "highly imaginative". Mark Zuckerberg recommended the book to his tens of millions of Facebook followers; George R.R. Martin wrote about it on his blog. Publishers around the world sought the translation rights, and the novel was eventually released in 26 languages, including Turkish and Estonian. It won the 2015 Hugo award, one of the most prestigious honors in science fiction, making liu cixin the first Asian writer to win the award for best novel. This is the first time a full-length translated novel has won the award. The novel and its two sequels have sold nearly nine million copies worldwide.

  刘慈欣现在说,他建议懂英文的中国科幻迷读刘宇昆翻译的《三体》,而不是中文版。“通常,中国文学被翻译成外语时,往往会损失一些东西,”他说。“我认为《三体》没有这种情况。我认为它在翻译中获得了一些东西。”

  Mr. Liu now says he advises Chinese science-fiction fans who understand English to read Ken liu's translation of "the three-body problem," rather than the Chinese version. "Usually, when Chinese literature is translated into a foreign language, something is lost," he said. "I don't think that's the case with the three-body problem. I think it gets something out of the translation."

  《三体》的成功不仅使刘慈欣成为全球文学明星,也大大增加了对中国科幻小说新译本的需求。这反过来让刘宇昆成为中国作家寻找西方读者的一条重要渠道,使他成为与他翻译的畅销书作家同样受欢迎的文学品牌。刘宇昆的翻译重塑了全球科幻小说的格局,长期以来,全球科幻小说领域一直由美国和英国作家主导。在过去十年里,他已经翻译了十多位中国作家的五部长篇小说和五十多部短篇作品,其中很多都是他本人发现和大力支持的。

  The success of the three-body problem has not only made liu a global literary star, it has also greatly increased demand for new translations of Chinese science fiction. That, in turn, has made Ken liu an important conduit for Chinese writers seeking western readers, making him as popular a literary brand as the bestselling authors he has translated. Ken liu's translation reshaped the global landscape of science fiction, which has long been dominated by American and British writers. Over the past decade, he has translated five novels and more than 50 short stories by more than a dozen Chinese writers, many of which he personally found and strongly supported.<纽约时报中英文网 http://www.qqenglish.com/>

  仅今年一年,刘宇昆就出版了三部重要的新译作:《碎星星》(Broken Stars),这是他翻译的14位中国科幻作家的短篇小说集;他还翻译了李俊(笔名宝树)的《三体X:观想之宙》,故事发生在一场星际大战之后;再就是陈楸帆《荒潮》 的译本,这是一部令人沮丧的反乌托邦小说,故事发生在中国海岸一个污染严重的半岛上,贫困的农民工在那里回收世界各地的电子垃圾。明年,Saga出版社将出版他翻译的郝景芳长篇小说《流浪玛厄斯》,长达624页,这是一部曲折的哲学寓言,讲述了在火星上过公社生活的人类殖民者与日益资本主义化的地球之间的意识形态裂痕。

  This year alone, Ken liu has published three major new translations: "Broken Stars," a collection of short stories by 14 Chinese science fiction writers; He also translated li jun (pseudonym baoshu) 's three-body X: the universe of visualizations, set after a star war; Then there is Chen qifan's translation of "wild tides," a depressing dystopian novel set on a heavily polluted peninsula off the coast of China, where impoverished migrant workers recycle electronic waste from around the world. Next year, Saga publishing will publish his translation of hao jingfang's 624-page novel "vagrant maas," a twisting philosophical fable about the ideological rift between human colonizers living in communes on Mars and an increasingly capitalist earth.

  中国一些最发人深省的科幻小说作家并不通过传统渠道出版,所以刘宇昆搜索互联网论坛,微博、微信等社交即时通讯网站,以及自我出版平台豆瓣。他在互联网上不同寻常的角落里发现过科幻故事,包括在清华大学校友论坛上。作为中国一些最具挑衅性和打破边界的作家的使者,刘宇昆已不仅仅是发掘者和翻译。他现在也是安排者、编辑和负责人,他是一位有见识的翻译,在弥合世界目前正在衰落和正在崛起的超级大国之间的想象鸿沟方面,他比任何人做得都多。

  Some of China's most thought-provoking science fiction writers don't publish through traditional channels, so Ken liu searches Internet forums, social messaging sites like weibo and WeChat, and self-publishing platform douban. He has found sci-fi stories in unusual corners of the Internet, including on tsinghua university alumni forums. As the emissary of some of China's most provocative and borderline writers, Ken liu has become more than just a discoverer and translator. He is now also arranger, editor and director, a knowledgeable translator who has done more than anyone to bridge the gap in the imagination between the world's current decline and the rising superpowers.

  科幻小说在中国蓬勃发展不足为奇,中国飞速发展的技术转变让人有一种超现实感。经济增长让数亿中国公民摆脱了贫困,为上层和政治阶层带来极度的财富,但技术也成了国家压迫的工具。一些中国工厂为工人配备了测量脑电波活动的设备,监测他们的情绪波动和机敏程度。鸟状的无人机被用来暗中监视市民,用人脸识别技术进行监视的做法非常普遍。在社交媒体和即时通讯应用程序上,含有某些被禁词汇的帖子会被自动审查。在太空竞赛中落后几十年之后,中国前不久在月球背面进行了历史性的登陆,并计划在那里建立一个永久性的研究基地。中国还计划在明年将一辆探测车送到火星上去。

  It's no surprise that science fiction is booming in China, where the rapid technological shift has a surreal feel. Economic growth has lifted hundreds of millions of Chinese citizens out of poverty and brought extreme wealth to the upper and political classes, but technology has also become an instrument of state oppression. Some Chinese factories have equipped workers with equipment that measures brain wave activity, monitoring their mood swings and alertness. Bird-like drones are used to spy on citizens, a common practice with face-recognition technology. On social media and instant messaging apps, posts containing certain banned words are automatically censored. After decades behind in the space race, China recently made a historic landing on the far side of the moon and plans to build a permanent research base there. China also plans to send a rover to Mars next year.

  “在中国,有一种官方宣传的观点,那就是科幻小说是关于想象力的,未来就是那样的,”刘宇昆今年4月对纽约的听众说,当时他作为参加美国华人博物馆(Museum of Chinese in America)一个小组讨论的成员,向听众介绍了越来越受欢迎的中国科幻小说。“实际上,最有趣的科幻小说当中,很多都更具颠覆性,”他继续说。“科幻小说是一种对社会上正在发生的事情的讽刺性评论。而且由于中国的很多事情都在迅速变化,科幻小说经常让人觉得是描述当下事情的最现实的手法。”

  In China, have a kind of official propaganda point of view, that is science fiction is about imagination, the future is like that, Ken liu told the audience in New York in April this year, he was as to participate in the Museum of Chinese in America (Museum of Chinese in America) members of a group discussion, to the audience become more and more popular in the Chinese fiction are introduced. "In fact, many of the most interesting science fiction stories are more subversive," he continued. "Science fiction is a kind of satirical commentary on what's going on in society. And because so many things are changing so fast in China, science fiction often feels like the most realistic way to describe what's going on."

  刘宇昆1976年出生于中国西北甘肃省的工业城市兰州。父母在他四岁时就出国了(父亲到东德学习统计学,母亲在美国攻读化学研究生学位),刘宇昆和爷爷奶奶一起留在中国,他们都是科学教授,“喜欢屯书”,他说。

  Ken liu was born in 1976 in lanzhou, an industrial city in northwest China's gansu province. His parents went abroad when he was four years old (his father went to east Germany to study statistics, his mother went to the United States to pursue a graduate degree in chemistry), and he stayed in China with his grandparents, both science professors, who "love to keep books," he said.

  小时候,他什么都读。在小学时,他发现了美国科幻小说的中文译本。他读了菲利普·K·迪克(Philip K. Dick)的《仿生人会梦见电子羊吗?》(Do Androids Dream of Electric Sheep?),却没有意识到这是科幻小说,错把书中人类奴役机器人的后末日都市地狱景象当成美国生活的真实写照。

  As a child, he read everything. In elementary school, he discovered a Chinese translation of American science fiction. He read Philip k. Dick's "do bionic men dream of electric sheep? Do Androids Dream of Electric Sheep? , without realizing it was science fiction, mistaking the post-apocalyptic urban hell in which humans enslave robots for the reality of American life.

  11岁那年,他搬到美国加州的帕罗奥图(Palo Alto),母亲在那儿担任药剂师,父亲是统计分析师。

  At age 11, he moved to Palo Alto, calif., where his mother worked as a pharmacist and his father was a statistical analyst.

纽约时报中英文网 www.qqenglish.com

  他用约一年时间学习了英语,不久便能阅读《时间的皱褶》(A Wrinkle in Time)和《鹿苑长春》(The Yearling)等小说,接着又读了福克纳和梅尔维尔等作家的美国经典小说,以及奥森·斯科特·卡德(Orson Scott Card)、玛格丽特·阿特伍德(Margaret Atwood)和亚瑟·C·克拉克(Arthur C. Clarke)的科幻小说。他成绩优异,上了哈佛,主修英语,并学习计算机科学。

  He used about one year Time to learn English, can read The Time of ruffle soon (A Wrinkle in Time) and The Yearling (The Yearling), such as novels, then read The American classic novels of William Faulkner and Melville writers, as well as Orson Scott Card (Orson Welles Scott Card), Margaret Atwood (Margaret Atwood) and Arthur c. Clarke (Arthur c. Clarke) of science fiction. He excelled in school, went to harvard, majored in English, and studied computer science.

  1998年毕业后,刘宇昆做了软件工程师,先是在微软,然后在一家名为Idiom Technologies的初创公司工作,在那里遇到了后来成为他妻子的邓启怡。接着,互联网泡沫破裂,刘宇昆开始寻找新方向。他上了法学院,后来做了公司律师,再后来成了专门处理专利侵权和技术案件的诉讼顾问。

  After graduating in 1998, Ken liu worked as a software engineer, first at Microsoft and then at a start-up called Idiom Technologies, where he met his future wife, qiyi deng. Then the Internet bubble burst, and Ken liu began to look for new directions. He went to law school, became a corporate lawyer, and later became a litigation consultant specializing in patent infringement and technology cases.

  在漫长多变的职业历程中,刘宇昆始终在写小说。最终,他在科幻杂志上发表了自己的短篇小说,并因他奇特、超现实的故事而广受赞誉,它们有的是发生在遥远的行星,或去往可居住世界的星际宇宙飞船上,但往往以紧张的家庭关系为中心。他2011年的短篇小说《折纸》(The Paper Menagerie)讲了一个美国男孩的故事,他的母亲是中国移民,能为他精心制作能变成活物的折纸动物,这个故事获得了雨果奖、星云奖和世界奇幻奖,让刘宇昆成为第一位以一部作品包揽该类型三个主要大奖的作者。四年后,他出版了《国王的恩典》(The Grace of Kings),这是一部史诗般的奇幻小说,借鉴了西方神话和史诗以及汉代的历史传说。2017年,他辞去工作,专心写作。

  Ken liu has been writing novels throughout his long and varied career. Eventually, he published his own short stories in science fiction magazines and was widely praised for his quirky, surreal stories, which took place on distant planets or on interstellar spaceships to habitable worlds, but often centered on strained family relationships. His 2011 short story "origami" (The Paper Menagerie) a story about an American boy, his mother is Chinese immigrants, for his elaborate to become living origami animals, this story won The Hugo award, The nebula award, and The world fantasy prize, let Ken liu became The first woman to a work won The type The author of three major awards. Four years later, he published "The Grace of Kings," an epic fantasy novel that draws on western mythology and epics as well as historical legends from The han dynasty. In 2017, he quit his job to concentrate on writing.

  刘宇昆与妻子邓启怡(现为摄影师)及7岁和9岁的两个女儿住在波士顿外的小镇斯托顿。刘宇昆43岁,体态轻盈,精力充沛,留着圆寸头,眉毛浓密,有一张孩子气的圆脸。

  Ken liu lives in stoughton, a small town outside Boston, with his wife, deng qiyi, now a photographer, and their two daughters, ages 7 and 9. Ken liu is a lithe, energetic 43-year-old with a buzz cut, bushy eyebrows and a boyish round face.

  在他的家中——一栋充满欢乐的小房子,里面全是女儿的画和乐高作品——刘宇昆向我展示了他的办公室:位于地下室的一个漆黑、洞穴般的房间,里面堆满了书。他的书桌附近放着他的四个雨果奖,两个来自他自己的短篇小说,两个来自他的翻译作品。

  At his home -- a cheerful little house filled with his daughter's paintings and legos -- Ken liu shows me his office: a dark, cavernous room in the basement, filled with books. Near his desk are his four Hugo awards, two from his own short stories and two from his translations.

  刘宇昆告诉我,他从没打算过当翻译。实际上,是中国作家首先发现了刘宇昆,并不是反过来。2009年,陈楸帆在一个网络英文科幻杂志上读到了刘宇昆的短篇小说之一《爱的算法》后,给刘宇昆发了一封电子邮件,说他非常喜欢这个作品。他们保持着联系,一年后,陈楸帆就他的一个短篇小说的英文翻译向刘宇昆寻求意见,这是他委托一家翻译公司做的。刘宇昆对译文不满意,提出帮他编辑一下,但最终还是从头开始重新翻译。

  Ken liu told me he never intended to be an interpreter. In fact, it was Chinese writers who first discovered Ken liu, not the other way around. In 2009, after reading one of Ken liu's short stories, "the algorithm of love," in an online english-language science fiction magazine, Chen sent Ken liu an email saying he liked it. They stayed in touch, and a year later, Chen qifan asked Ken liu for advice on an English translation of one of his short stories, which he had commissioned from a translation agency. Ken liu was not satisfied with the translation and offered to edit it for him.

  这篇小说名叫《丽江的鱼儿们》,故事发生在未来的中国,公司可以操纵员工对时间流逝的感受,以此提高员工的生产效率。刘宇昆的翻译于2011年在科幻杂志Clarkesworld上发表,并于次年在科幻与奇幻翻译奖(Science Fiction and Fantasy Translation Award)的短篇小说类别中获奖。

  The story, called the fish in lijiang, is set in a future China where companies can manipulate how employees feel about the passage of time to improve their productivity. Ken liu's Translation was published in the Science Fiction magazine Clarkesworld in 2011 and won the Science Fiction and Fantasy Translation Award in the short story category the following year.

  刘宇昆意识到人们对中国科幻小说的兴趣与日俱增。当他阅读更多这样的小说时,他为自己发现了一批庞大而多样的文学作品而感到震惊——作品涵盖了硬科幻、超现实恐怖和赛博朋克,乃至反乌托邦架空历史小说、政治讽刺和时间旅行故事。

  Ken liu is aware of the growing interest in Chinese science fiction. As he read more of these, he was shocked to discover a vast and diverse body of literature -- from hard sci-fi, surrealist horror and cyberpunk to dystopian historical fiction, political satire and time-travel stories.

  他这种飘飘然的感觉就像回到了小时候第一次阅读美国科幻小说的中文译本,就像进入了去往另一个世界的传送门。

  He felt as if he had returned to his first Chinese translation of American science fiction as a child, as if he had entered a portal to another world.

  在与刘宇昆交谈的过程中,他只在一个地方含糊其辞,就是当我问起他所翻译的作品中的政治含义。异见作家在中国被判入狱,刘宇昆常常担心与自己合作的作家是否安全。

  In conversation with Ken liu, he was only vague when I asked him about the political implications of his translations. Dissident writers are jailed in China, and Ken liu often worries about the safety of the writers he works with.

  “这些作家写作时都非常有创造力和勇气,而我没有承受他们所受的那些限制和压力,我尽量注意自己的言论,以免给他们带来麻烦,”他告诉我。

  These writers are very creative and courageous when they write, and I don't have the constraints and pressures that they have, and I try to be careful what I say so I don't get them into trouble, he told me.

  最近,与中国以及中国内部日益紧张的政治局势使刘宇昆的翻译项目变得更加微妙。今年是天安门广场抗议活动30周年,这个阴郁的里程碑令言论自由遭到更多镇压,在中美贸易战和香港大规模抗议活动的背景下,国家审查机构的警惕性更高了。一些曾经能够鼓起勇气处理政治和社会问题的作家,不管手法有多么隐晦,都对发表自己的作品感到犹豫,或者开始自我审查以避免麻烦。

  More recently, rising political tensions with China and within China have made Ken liu's translation project more nuanced. This year marks the 30th anniversary of the human rights movement, a gloomy milestone that has led to more crackdowns on free speech and heightened vigilance by state censors amid a trade war with the United States and mass protests in Hong Kong. Some writers who have been able to summon the courage to deal with political and social issues, no matter how subtle, have balked at publishing their work or have begun self-censoring to avoid trouble.

  在他最近的选集《碎星星》中,刘宇昆收录作家宝树的反乌托邦中篇小说的译文,题为“What Has Passed Shall in Kinder Light Appear”(昔日种种温和地重现)。在故事中,历史是倒退着的,中国从超级大国下滑为一个贫穷动荡的国家,随着主人公年龄的增长,他按照倒序经历了各种重大事件,目睹了2008年北京奥运会,接着是天安门抗议、文化大革命,饥荒年代和日本占领。故事的叙述者——“科幻小说界一颗冉冉升起的新星”——在故事的某一段落,就他在政治禁忌话题的写作风险进行了元小说式的揭示,指出一些批评家声称“我的作品是资本主义自由化的典型,有批评共产党的隐喻”。

  In his latest anthology, "broken stars", Ken liu includes a translation of a dystopian novella by the author bao shu, entitled "What Has Passed Shall in Kinder Light Appear". In the story, history goes backwards, as China slides from superpower to poor and unstable country, and as the protagonist grows older, he experiences major events in reverse order, witnessing the 2008 Beijing Olympics, followed by the tiananmen protests, the cultural revolution, the famine years and the Japanese occupation. At one point, the story's narrator, "a rising star in science fiction", offers a meta-fiction account of the risks of his writing on politically taboo subjects, noting that some critics claim that "my work is a model of capitalist liberalisation with a metaphor for criticizing the communist party".

  宝树这部中篇小说从未在中国出版过。刘宇昆的英文版是唯一的正式发行版本。当我问刘宇昆,发布英文版是否会给宝树带来风险,他停了一下,仔细斟酌了自己的话,最后简单地说:“我很高兴能把这个作品带出来。”

  Baoshu's novella has never been published in China. Ken liu's English version is the only official release. When I asked Ken liu if he would release the English version to baoshu

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